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Don’t Call Me Angel By Jeremy Grand People should really take a lesson from Canada. They are a docile country with great people, beautiful scenery, a neutral government and wonderful musicians such as the sassy, sexy and talented Sara Lynn. Don’t Call Me Angel is the name of the album in question, but the real question is: Why haven’t we really seen or heard her more here in the states? With hundreds or even thousands of new musicians popping up seemingly every day, it’s understandably difficult to get lost within the lot, but this songstress belongs within the realms of the known. Angel is a potpourri of unusual scents, with sounds comparable to Amy Winehouse (without the drugs and the accent), Madonna (without the pretension and the accent) and sometimes a little bit country (without the annoying twang and corniness). The ease of Lynn’s voice carries you away to a romantic place that is hard to leave, sporting a natural talent that will let anyone enjoy the music without looking for something to criticize. Don’t Call Me Angel belongs everywhere; on the radio and the dance floor with the Latin-influenced “Shadows (Remix),” the power ballad “Storm Crow” and the wonderfully narcissistic “Gorgeous Imperfection,” in a Martini bar with the first track (and great intro) “Won’t You Walk Me Home,” or in your pink Cadillac with “I Love This Ride.” There is something for almost every taste on this album and that is one reason it succeeds. Weather line dancing, slow dancing, raving under a disco ball or just relaxing with a bottle of something in the living room, Don’t Call Me Angel is perfectly gorgeous. 
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